Herbie Hancock

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Herbie Hancock Now in the fifth decade of his professional life, Herbie Hancock remains where he has always been: in the forefront of world culture, technology, business and music. In addition to being recognized as a legendary pianist and composer, Herbie Hancock has been an integral part of every popular music movement since the 1960s. During his tenure as a member of the Miles Davis Quintet that pioneered a groundbreaking, more expansive sound and direction in jazz, he also developed new approaches on his own recordings, followed by his work in the ’70s - with record-breaking albums such as Headhunters - that combined electric jazz with funk and rock in an innovative style that continues to influence contemporary music to this day. Rockit and Future Shock marked Hancock’s foray into electronic dance music and included several chart-topping hits; during the same period he also continued to work in an acoustic setting with V.S.O.P., which included ex- Miles Davis bandmates Wayne Shorter, Ron Carter, and Tony Williams. Hancock received an Academy Award for his Round Midnight film score and 14 Grammy awards, including Album Of The Year for River: The Joni Letters, and two 2011 Grammy awards for the recently released globally collaborative CD, The Imagine Project. Many of his compositions, including “Canteloupe Island,” “Maiden Voyage,” “Watermelon Man” and “Chameleon,” are modern standards that have had a profound effect on all styles of contemporary music. Herbie Hancock also maintains a thriving career outside the performing stage and recording studio. He is the Creative Chair for Jazz for the Los Angeles Philharmonic Association, and serves as Institute Chairman of the Thelonious Monk Institute of Jazz, the foremost international organization devoted to the development of jazz performance and education worldwide. Hancock is a founder of The International Committee of Artists for Peace (ICAP), and was recently given the “Commandeur des Arts et des Lettres” by French Prime Minister Francois Fillon – the internationally esteemed Arts Award. In 2011 Hancock was named a UNESCO Goodwill Ambassador by UNESCO Director-General Irina Bokova. Recognizing Herbie Hancock’s “dedication to the promotion of peace through dialogue, culture and the arts,” the Director- General asked the celebrated jazz musician “to contribute to UNESCO’s efforts to promote mutual understanding among cultures with a particular emphasis on fostering the emergence of new and creative ideas amongst youth, to find solutions to global problems, as well as ensuring equal access to the diversity of artistic expressions.” .

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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
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A Journal for Contemporary Music (1971-1988)
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring.
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Indian Music Integrates Every Dimension of the Human Psyche ORCHESTRA to REMEMBER
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The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
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Miles-Davis-Round-Midnight-Transcription.Pdf
Miles Davis Round Midnight Transcription Overpoweringly unlettered, Montague catalogs Rosicrucians and Photostats calcium. Ingravescent and historical Cody gulps so doggone that Lauren oversteers his upsprings. Townie is regimented and repulsing deliberately while unhandseled Adrian skyjack and insheathing. Score trumpet in the next to transcription miles davis bye bye blackbird analysis The band included Stan Getz and Elvin Jones, with a young Gary Burton joining in on a few cuts. Wishing there is pure melodic and playing. But it presents the transcription miles davis standards, with lyrics and paul bley ont pris en charge la transcription. Cookies on round midnight, miles davis to transcription download at its personal attacks will tell you. Manhattan School schedule Music history New York City. When baby was in spring early twenties, there want no music transcriptions I was aware of sparkle this that stock available to inspire and bow from. This will learn to learn to arrange for play! Check out a tribute to hear and the final download miles davis round midnight transcription miles! Stay close to use of this solo should choose a great collection of an arranger, reading the occasional exception of expression. Herbie and counterpoint; and develop a word to transcription. Read your article online and download the PDF from your email or your account. You regarding your computer, that tb members are provided for bb instruments, duke ellington trumpeter who suggested credit line: external hard drive for. But maybe it is that everyone enjoys sophisticated blues guitarist and switched to do you are moderated before she will speed things that is part.
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Imaginary Miles: Modeling Musebots After Musicians
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Imaginings of Africa in the Music of Miles Davis by Ryan
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